Star Turtle
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Track listing
- 1 Star Turtle 1 4:35
- 2 How Do Ya'll Know 4:54
- 3 Hear Me in the Harmony 4:45
- 4 Reason to Believe 4:50
- 5 Just Like Me 4:46
- 6 Star Turtle 2 2:27
- 7 Little Farley 6:04
- 8 Eyes of the Seeker 4:51
- 9 Nobody Like You to Me 3:43
- 10 BoozeHound 5:13
- 11 Star Turtle 3 2:10
- 12 Never Young 5:25
- 13 Mind on the Matter 4:08
- 14 City Beneath the Sea 5:58
- 15 Star Turtle 4 1:43
- Total length: 65:32
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3 Reviews
Is this the first adult contemporary concept album? It's not entirely successful, but you've gotta give Harry props for even trying something like this. The album's peppered with skits involving a funky, deep-voiced space terrapin (the titular "star turtle") who's somehow lost on Earth. Harry's going to help him get home. They drive around in Harry's car, they go to a jazz club . . . It sounds like some goofy, Parliament-style funk alien backstory, except it's all played deadly serious. I can't imagine the forty-year-old women that normally buy Connick's stuff were particularly pleased.
In the end, though, the whole thing's a bizarre non-sequitur because the songs have no recognizable connection to the story whatsoever. Seemingly committed to writing the musical version of E.T. (E.T. did look a little turtle-y, didn't he?) Connick penned a bunch of skits and forgot to write any songs to go with them.
But maybe I'm taking it all too literally. Maybe the star turtle story is actually just a story about openmindedness and seeking the truth and self-actualization, in which case there is a thin thread that runs through songs like "Just Like Me," "Nobody Like You to Me," "Never Young," and "Eyes of the Seeker." The rest of the songs, though, fit this theme of exploration and openmindedness only musically: Connick weaves a lot of jazz-rock and blues-rock into his sound, and does so in a way that's quite unique. Coming as he does from New Orleans, Harry's connection to jazz is far more on the traditional end of things. So while most jazz rockers are obsessed with post-bop influences like Eric Dolphy and avant-garde artists like Fred Van Hove, Connick instead mixes dixieland and stride with pop/rock and comes up with an interesting hybrid that I'm surprised more artists haven't picked up.
The errors, though, eventually overwhelm the promise. First, there's too much focus on groove--Connick forgets that, despite his influences, this is still fundamentally a pop album, which needs verse-chorus-verse structure and recognizable hooks. Instead, he give us songs like "How Do Y'all Know" that jam out the same rhythm line for nearly the whole song. Second, Connick's voice is a problem--which is odd because, technically speaking, he's a good singer. But his voice is just too whitebread to work with music as funky as this.
Regardless, it's still an admirable experiment that deserves some notice.
In the end, though, the whole thing's a bizarre non-sequitur because the songs have no recognizable connection to the story whatsoever. Seemingly committed to writing the musical version of E.T. (E.T. did look a little turtle-y, didn't he?) Connick penned a bunch of skits and forgot to write any songs to go with them.
But maybe I'm taking it all too literally. Maybe the star turtle story is actually just a story about openmindedness and seeking the truth and self-actualization, in which case there is a thin thread that runs through songs like "Just Like Me," "Nobody Like You to Me," "Never Young," and "Eyes of the Seeker." The rest of the songs, though, fit this theme of exploration and openmindedness only musically: Connick weaves a lot of jazz-rock and blues-rock into his sound, and does so in a way that's quite unique. Coming as he does from New Orleans, Harry's connection to jazz is far more on the traditional end of things. So while most jazz rockers are obsessed with post-bop influences like Eric Dolphy and avant-garde artists like Fred Van Hove, Connick instead mixes dixieland and stride with pop/rock and comes up with an interesting hybrid that I'm surprised more artists haven't picked up.
The errors, though, eventually overwhelm the promise. First, there's too much focus on groove--Connick forgets that, despite his influences, this is still fundamentally a pop album, which needs verse-chorus-verse structure and recognizable hooks. Instead, he give us songs like "How Do Y'all Know" that jam out the same rhythm line for nearly the whole song. Second, Connick's voice is a problem--which is odd because, technically speaking, he's a good singer. But his voice is just too whitebread to work with music as funky as this.
Regardless, it's still an admirable experiment that deserves some notice.
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Harry rocked on this one. love the concept, and the songwritering. One of the best albums ever! Yes its that good. Give it listen.
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Harry wants to be a rock star. You can't always get what you want.
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